ABSTRACT Affective Identification with Animals in the Public Sphere in Earth, the Movie Dustin A. Greenwalt, M.A. Committee Chairperson: Jeff D. Bass, Ph.D. Following Derrida's introduction to Dissemination; “I will not feign, according to the code, either premeditation or improvisation. These texts are assembled otherwise, it is not my intention here to present them.” Animal films are tied to a system of liberalism and the objectification of nature that has developed through the historical confluence of visuality, anthropomorphism, and a fascination with nature. Sequences in Earth produce collective fantasies of a pristine nature, containing a marked absence of connection between growing environmental destruction, and the modernist forms of consumption that underwrite western society. Further, Earth naturalizes discourses through anthropomorphic images, naturalizing the domination of humans and animals in everyday practice. Challenging Critical Rhetorics that reaffirm critique at the level of discourse, Earth calls forth an interrogation of the ethical possibilities offered by a greater awareness of the material processes of nature, and their influence on the cultural imagination. Affective Identification with Animals in the Public Sphere in Earth, the Movie by Dustin A. Greenwalt, B.A. A Thesis Approved by the Department of Communication Studies ___________________________________ David W. Schleuter, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Arts Approved by the Thesis Committee ___________________________________ Jeff D. Bass, Ph.D., Chairperson ___________________________________ James Kendrick, Ph.D. ___________________________________ Douglas R. Ferdon, Ph.D. Accepted by the Graduate School May 2010 ___________________________________ J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School. Copyright © 2010 by Dustin Greenwalt All rights reserved TABLE OF CONTENTS Acknowledgments v Chapter One Introduction 1 Recent Scholarship on Animal Movies 6 Engaging Earth as a Rhetorical Text 15 Preview 18 Chapter Two Introduction 21 Literary Animals 24 Animals and the Development of Visual Technologies 29 Animal Films 36 Films of Animals in Zoos 37 Safari/Adventure Films 39 Disney Films 42 Cable Television 45 Conclusion 48 Chapter Three Introduction 51 Rhetoric,Animality, and Modernity 54 Affect, Rhetoric, Animals 62 Affect, Identification, and Nature 67 Reading Affective Identification 72 Conclusion 78 Chapter Four Introduction 81 The Family Life of Animals 83 Animal Myth and Scientific Credibility 89 Animal Death as a Strategy of Modernity 95 Conclusion 99 Chapter Five Introduction 102 Earth, Critical Rhetoric and Animals 103 Liberalism, Animal Representation, and Rhetoric. 108 Conclusion 115 Bibliography 120 iv ACKNOWLEDGMENTS In no particular order, I owe a lot of my intellectual and personal advancement at Baylor to Jeff Bass, James Kendrick, Leslie Hahner, Scott Varda, and Matthew Gerber. Also, my parents, professors, and friends have provided essential encouragement in pursuing my academic career v CHAPTER ONE Earth as A Rhetorical Artifact Introduction When Walt Disney funded the first True Life Adventure film in 1948, it would have been difficult to predict that it would influence audience expectations for animal films to this day. No longer dependent on ideas of scientific veracity, animal-films would develop into a world of fantastic representation that is still prevalent. During the post- war period Disney provided audiences with an entertainment value that the audience now expects, regardless of the film's scientific accuracy. One film that draws its influence directly from the True Life Adventures, is Earth,1 a film assembled from footage from the BBC series “Planet Earth.” The film follows three animal “families” for an entire year. Narrated by James Earl Jones, the sequences and story lines work to fascinate the audience. The narration combined with the sweeping images of exotic and scenic environments cause the audience to be mesmerized by the film's exotic setting. Similar to other animal-films, Earth continues a charade of scientific accuracy, allowing the audience to experience what they mistake for an authentic experience of exotic locations. Couched in references to the struggle of animals against their environment, the audience becomes attached 1. Fothergill, A. and Linfield, M. 2007, American Release in 2009 1 to animals that serve as synechodicial representatives of their species. The audience follows these animals as they struggle for survival, often foregrounding the problem of animal death as a specter that haunts their every action. The soothing and surreal sequences of Earth contribute to its popularity and affective power. Public and critical responses emphasize fascination the images in the film produce.2 Even when reviewers referenced the threat of climate change, they tended to mention it as an afterthought to the entertainment value of the images. One critic went as far as to characterize the subtle nature of global warming warnings in the film as welcomed, as the emphasis on catastrophe detracts from its aesthetic value.3 Some positive reviews, however, concluded that the film creates a love of nature among the target audience of children, a necessary condition for ensuring the popularity of action against climate change.4 Responses to the film, however, were not unitary. Several critics noted that Earth produces apathy towards the problems of climate change.5 According to one review, “The plight of the thirsty African elephants (every dehydrated fold lovingly captured) and starving humpbacked whales seems as removed from human action as a solar eclipse.”6 Similar to other reviews, this one concludes that, despite the possible affective connections that the film could generate, Earth is likely to produce a feeling of dis- empowerment towards the problem of global warming. These reviewers are apart of a 2. Bunch, S. “Our fantastic 'Earth' Redux,” 2009, Neumaier, J. “New Disney Film,” 2009, Scott, M. “Disney doc 'Earth” 2009 3. Smith, M., “Feels Familiar” 2009 4. Cole, S., “A View of Our Planet,” 2009; Ventuolo, A., “Documentary 'Earth' surveys,” 2009 5 Catsoulis, J., “Earth (2009),” 2009; Puig, C., “Disney's 'Earth' treads familiar” 2009; Schwarzbaum, “Movie Review Earth,” 2009 6. Catsoulis, “Earth (2009),” 2009 p. online 2 long-running criticism of animal-films as producing identification with the animals as individuals, not necessary as apart of an ecosystem, and planet, that human consumption effects negatively. The competing views of Earth and its popularity as a rhetorical text about nature, serve as ample justification for rhetorical analysis. However, its status as a text representative of Disney's portrayal of nature, and as an example of communication about animals in the public sphere, deserve a closer look. Earth is the first product of Disney Nature, a division meant to replicate the success of their True Life Adventures series, responsible for bringing fantastic animal-documentaries to American audiences. Some critics have argued that it is in part a continuation of Disney's popularization of the “wildlife” or “animal” genre of films, although Earth presents nature in a more “empathic” fashion compared to previous texts.7 Given the pedagogical force of Disney Films in the public sphere,8 and the predominance of animal movies as a genre, it is important to investigate Earth as a text representative of how the public relates to non- human others. Earth can also be read as a product of cultural attitudes towards the non-human world. Typical of Disney films, it is called forth by the popular fascination with the natural world that make wildlife films continually popular, providing it ready-made market.9 The popularity of Earth, and March of The Penguins10 shows that their narrative qualities have brought about a change in consumer demand for images of nature, as long 7. Walsh, B. “Disney's version of Earth,” 2009 8. Giroux, H., “Rodent Politics” 1999; “Cultural Studies, Public Pedagogy,” 2004 9. Good examples of reactions to the film that de-emphasize global warming include: Berton, J., “Earth' full of Friendly,” 2009; Catsoulis, J., “Earth (2009),” 2009; Puig, C., “Disney's 'Earth' treads familiar” 2009; Walsh, B. “Disney's version of 'Earth,” 2009 10. Jacquet, Luc, 2005 3 as they contain popular tropes easily transposable onto human culture.11 Earth then, presents itself as a text through which we can investigate the popular cultural themes that shape public fascination with animal documentaries. Increasing public interest in images of animals is evidenced by the popularity of films, and the rise of cable T.V. stations, such as The Discovery Channel and Animal Planet, that feature natural history and wildlife shows. The proliferation of images of animals in the public has coincided with the increasing separation of humans from regular contact with the natural world, producing complacency with destruction of the non-human world.12 Jennifer Parker-Starbuck argues that “animals have largely been relegated to objects used in a technologized food-processing system, a scientific- experimentation process, and as sentimentalized subjects for film, resulting in a blind spot when animal's lives are at stake.” Authorizing the current practices of industrial progress, the depiction of a nature absent human intervention makes it impossible for audiences to